Yongle Lacquer Carving (Carved Cinnabar Lacquer Circular Box with Double-Dragon and Peony Patterns)

The carved cinnabar lacquer circular box with double-dragon and peony patterns dates back to Emperor Yongle's reign (1403-1424) of the Ming Dynasty. The center of the box cover is carved with two dragons playing with a pearl, with peony patterns as the background, surrounded by diamond decorative motifs.

The cover was crafted with the lacquer carving technique: Lacquer is repeatedly applied on the surface of the object, and then patterns are carved after the lacquer reaches a certain thickness. The most commonly used lacquer colors are red, yellow, green, and black, which can also be applied alternately. Common red lacquerware is called cinnabar lacquer carving.

Zhu Di (1360-1424), Emperor Yongle of the Ming Dynasty, loved carved lacquerwares. He established a royal lacquerware workshop in the imperial city and recruited famous craftsmen from around the country to produce carved lacquerwares.

During his reign, the layers of lacquer applied increased significantly, up to 100-200 layers, and the thickness could reach about 1.5 centimeters. Carved lacquerwares of the Yongle reign boast exquisite carving and multi-layered and stereoscopic decorative patterns, which have been highly acclaimed by later generations.

Emperor Qianlong of the Qing Dynasty loved carved lacquerwares ofthe Yongle reign so much that he ordered the mark "Yongle" be engraved on newly carved lacquerwares.

This box features a thick layer of lacquer. The edges of the patterns are smoothly polished, concealing the carving traces . The decorative style and dragon patterns are typical of carved lacquerwares of the Yongle reign, representing the highest level of lacquer carving at that time.

永樂雕漆（剔紅雙龍牡丹紋圓盒）

剔紅雙龍牡丹紋圓盒為明永樂時期（1403—1424）的漆器。盒蓋正中雕有雙龍戲珠圖案，以牡丹紋襯底，紋飾空隙間布滿精細(xì)的菱花錦紋。

盒蓋采用漆雕工藝，即在胎表層層刷漆，積累到一定厚度后再雕刻花紋。所用漆色有紅、黃、綠、黑等，也可交替疊刷。常見的紅色漆雕被稱為剔紅。明成祖朱棣酷愛雕漆器，曾在皇城內(nèi)建立御用漆器作坊，匯集地方名匠，專門生產(chǎn)雕漆器。他在位期間制作的永樂雕漆，刷漆層數(shù)明顯增多，可達(dá)一二百層，厚度可達(dá)1.5厘米上下。永樂雕漆雕工精美，花紋層次豐富，立體感強(qiáng)，受到后人的廣泛推崇。清代乾隆皇帝鐘愛永樂雕漆，曾下令在新制的雕漆器上鐫刻永樂款。

此漆盒漆層肥厚，圖案邊緣圓潤光滑，不露棱角和刀刻痕跡，裝飾風(fēng)格及龍紋具備永樂雕漆的標(biāo)準(zhǔn)特征，代表了明代永樂雕漆的最高水平。